cvc programming...between earth and skin: works by arnaldo roche and dhara rivera thursday, march...
TRANSCRIPT
- March 2019 -
CVC Programming
Marcela Fuentes
What Makes You Move?:The Scream, The Tide, and The Spider as Feminist
Performative Articulations in the Work of Ni Una Menos(Not One Woman Less)
Photo: Sol Vazquez. Pañuelazo. Reproductive Rights Protest, February 19, 2018,
Buenos Aires, Argentina.
Tuesday, March 5th @ 5:30 PMElvehjem L140
Social Movements are increasingly performative. This means that organizers place apremium on the form that social mobilization takes, both on and offline, not only asa reflection of the movement’s agenda but as a driver of the movement’sdevelopment and vitality. Social media campaigns are launched and sustainedthrough images that become vectors for decentered participation, that is, forprotesters to appropriate and circulate networked images such as memes and gifs intheir own terms. In this talk, I will discuss the visual performative tactics deployed bythe Argentine feminist collective Ni Una Menos (NUM) on urban and digital spaces.Focusing on NUM’s use of discursive and visual images such as the collectivescream, the feminist tide, and ‘Operation Spider’ as a response to gender-basedviolence, I will analyze the function of expressive action as a means of collectiveempowerment and transnational insurgency. I will track how NUM turned mourninginto the seeds of revolutionary change in Argentina and beyond by operatingsimultaneously as a collective, a constellation of performances, and a transnationalmobilization that moves through images of its pulsating articulations andaccumulations.
Biography:
Marcela A. Fuentes is Assistant Professor in the Department of PerformanceStudies at Northwestern University. Her research focuses on performance andnetworked communication in contemporary social movements and activisms. Herforthcoming book Performance Constellations: Networks of Protest and Activism inLatin America (University of Michigan Press, Fall 2019) argues that bodilyperformance and new media are process-based tools that disrupt the workings ofoppressive regimes and bring forth opportunities for transformative politicalprocesses. Fuentes’s work has been published in the Journal of Latin AmericanCultural Studies, Text and Performance Quarterly, e-misférica and edited volumes ontransnational feminist movements, memory, and social change. She is currently acouncil member for the Hemispheric Institute of Performance and Politics and anexternal consultant for the Buenos Aires’ Performance Biennial. From 2016 to 2018she was a member of the Ni Una Menos collective.
Event made possible thanks to the Anonymous Fund and the Departments of
Interdisciplinary Theatre Studies, LACIS, and Spanish and Portuguese.
Lilliana Ramos Collado
Roaming Eyes: The Freedom to See
Image: Felix Gonzalez Torres, Untitled [Billboard of an Empty Bed], 1991.
Public LectureThursday, March 28th @ 4:30 PM
Elvehjem L140
WorkshopBetween Earth and Skin: Works by Arnaldo Roche and Dhara Rivera
Thursday, March 28th @ 12:00 PMUClub 212
*Please register for the workshop in advance by [email protected]
“Roaming Eyes: The Freedom to See”
There is a tendency in visual culture theory to still abide – probably inadvertently –by Marshall McLuhan’s eventful phrase (1962, 1967) “The medium is the message,”later rephrased as “The medium is the massage,” which proposes that the mediumitself will distort “reality” by composing and displaying images meant to force biasedcontents onto the viewer. I will challenge this persistent idea of a passive viewer byexploring how landscapes and cityscapes – where the subject’s changing positionand point of view create an equally changing scene – may lead the viewer to restatemeaning and form beyond the visual, thus defying deliberate contents, unleashingthe freedom to see in a more complex sensory context, and redefining their visualculture. When discussing the landscape experience, I will focus on anthropologistDavid Le Breton’s Éloge de la marche (2000) and Tacita Dean’s Place (2005); and,for the cityscape experience, artist Félix González-Torres Untitled [The emptybed] (1991) billboards posted on several Manhattan buildings, and Michel deCerteau’s 1995 essay Practices of Space.
Biography:
Dr. Lilliana Ramos Collado teaches architecture theory/history at the University ofPuerto Rico in Río Piedras. She has published three poetry books, Útimos poemasde la rosa(Erizo Editorial, 2013) being the latest, and several books on art theory,history and criticism, the latest being Puerto Rico: Gateway to Landscape (2014).Ramos has published widely on art, literature, architecture and heritage in scholarlyand non-scholarly journals and magazines, was Puerto Rico Museum ofContemporary Art head curator, and also Executive Director of the Institute of PuertoRican Culture, a position equivalent to Minister of Culture. Her latest book onarchitecture and heritage, La patria en ruinas: siete visitas a la catástrofe, is duenext May.
Events made possible thanks to the financial support of the Anonymous Fund andLACIS. We are also grateful for the support of the Departments of Art, Art Historyand Spanish and Portuguese.
Exhibitions
Alison Saar: Printmaker
Tandem PressExhibition Dates: February 1 - April 6, 2019
For more information, please visit: Tandem Press
"Portrayals of Primal Forces"Exhibition by Nicole Shaver
March 4-29, 20197AM - 10PM
Union South, Gallery 1308
The artist states;
Just as we move, nature moves, changing with the shifts in time and because of us.
Our innate compulsion to see, feel, collect, and contain is found on the soles of ourshoes, through our fingertips, into pocket landscapes. From the top of the mountaindown to the shoreline, the wilderness is manmade.
Inspired by geology and a contemporary sublime, this exhibition reaches those whohave traversed landscape and yearned to hide it in their pocket, as if a stone foundon a path.
For more information, please visit the union's website.
Southern Rites: Photography by Gillian Laub
Image: Gillian Laub (American b. 1975), Amber and Reggie, Mount Vernon, Georgia,
2011, inkjet print, © Gillian Laub, courtesy of Benrubi Gallery.
January 25 to May 12, 2019Pleasant T. Rowland Galleries at the Chazen Museum of Art
In 2002, Gillian Laub was sent on a magazine assignment to Mount Vernon,Georgia, to document the lives of teenagers in the American South. Laubphotographed surrounding Montgomery County over the following decade, returningeven in the face of growing—and eventually violent—resistance on the part of somecommunity members.
For more information, please visit the Chazen website.
Un/Seen: The Alchemy of Fixing Shadows
Image: J. Shimon & J. Lindemann, (American, b. 1961)(American, 1957–2015), Poplar Harvest No. 1, 2012, ambrotype,
34 x 28 1/2 in., Dennis Rocheleau fund purchase, 2013.11
February 15 to April 14, 2019Leslie and Johanna Garfield Galleries at the Chazen Museum of Art
The earliest photographic processes were simultaneously science, art, and magic.This new, strange alchemy concealed as much as it revealed, light and silver halidecombining, developing, fixing with a swirl of chemical across paper, tin, glass.Historic photographs allowed for new ways of seeing yet kept other things in thedark. Moments, while made visible, were always already echoes of the thing itself,dealing in snapshots of reality that were never quite reality. And while the visible isvery much at play, it’s what is rendered invisible—the process—that lurks in theshadows of the end product. The toxic chemicals and rituals photographersemployed, happenings outside of camera lenses’ carefully structured views, and thelarger social and cultural patterns that shaped the production of images are oftenhidden and much harder to see. Nineteenth-century photographic and proto-photographic processes—silhouettes, daguerreotypes, tintypes, ambrotypes andcyanotypes—allowed for innovative ways of presenting and shaping images of the
world, a toxic labor that left a great deal unseen. Today, these practices offercontemporary artists new tools for telling stories about the ways past and presentintersect—about bodies, desires, communities in the shadows, striving to be seen—revealing hidden patterns in the process.
This exhibition was curated by students in AH601 Introduction to Museum Studies:Theory & Methods, taught by Sarah Anne Carter, Curator and Director of Researchat the Chipstone Foundation, and produced in collaboration with the ChipstoneFoundation.
Free Public Programs
Flash Gallery TalkMarch 8, 2019 2 p.m. with Jim Lattis
Cyanotype WorkshopMarch 30, 2019, 12–3 p.m. with Carissa Heinrichs, 3rd year Printmaking MFAcandidate
Affiliate Events
UW Cinematheque: LACIS Film SeriesDiamantino
Friday, March 1, 2019 @ 7:00 PM4070 Vilas Hall
Portugal, France, Brazil / 2018 / DCP / 92 min. / Portuguese with English subtitlesDirector: Gabriel Abrantes, Daniel Schmidt
Cast: Carloto Carlo, Cleo Tavares, Anabela Moreira
A hunky, idiot savant soccer star with a heart of gold, Diamantino’s gilded life comesto a screeching halt when he flubs a crucial penalty kick. The former star’s self-imposed penance is to solve the refugee crisis, but he instead becomes the target ofa network of lesbian spies, evil twins, and mad scientists, all swirling around anefarious campaign to exit the EU and “Make Portugal Great Again.” Holding acracked funhouse mirror to contemporary Portuguese politics, Diamantino is a funny,sexy, and psychedelic delight. (MK)
Please visit the Cinematheque's website for more information.
About the Artists
Hitmakerchinx is a dancer, DJ, and record producer known for his Flex dancingmoves and music. He has worked with Rihanna on her Anti World Tour andRashaad Newsome.
Dancer and instructor KitKat's unique style of Flex focuses on elaborate stretches tocreate innovative movements. She has worked with Jennifer Lopez and collaboratedwith Reebok, Red Bull, Puma, and others.
Soup's Flexing style includes gliding waving connects (tuts), get low, and Bruk Up.Soup has danced with artists Missy Elliot, Paul McCartney, Kendrick Lamar, andSelena Gomez.
UW-Madison'sSpring 2019 Visiting Artist Colloquium
For more information, please visit ART.WISC.EDU/PUBLIC-PROGRAMS
Portia CobbWednesday, March 6
5:00 PM2650 Humanities Building 2nd Floor
455 N Park St
Jennifer CrupiWednesday, March 13
5:00 PM2650 Humanities Building 2nd Floor
455 N Park St
Michael WeissWednesday, March 27
5:00 PM2650 Humanities Building 2nd Floor
455 N Park St
Dara HartmanWednesday, April 3
5:00 PM2650 Humanities Building 2nd Floor
455 N Park St
Opportunities
2019 Digital Salon Submissions are open! http://go.wisc.edu/digitalsalon
Digital Salon is a curated exhibition of media projects (videos, animations, graphicessays, posters, infographics, websites, podcasts, blogs and more) open to all UW-
Madison undergraduate and graduate students with prizes for Best in Show andHonorable Mentions.
Main Salon Exhibition will be held in College Library in late April 2019.
Digital Salon is run by the DesignLab and the UW-Libraries.
Reminder:Free digital design tutoring!DesignLab offers free one-on-one and small group digital design help for UW-Madison students!
Our DesignLab consultants can help with everything from conceptualizing the firststeps to polishing a nearly finished project and all the steps along the way.
Make an appointment or drop-in to get help!
Get help with:
PresentationsPostersResumes/CVsVideoAudio InfographicsWebsites/BlogsData Visualizationand more!
2019 James P. Danky FellowshipApplications are due May 1, 2019
In honor of James P. Danky's long service to print culture scholarship, the Universityof Wisconsin-Madison’s Center for the History of Print and Digital Culture, in
conjunction with the Wisconsin Historical Society, is again offering two short-termresearch fellowships. (http://www.wiscprintdigital.org/fellowship/).
The Danky Fellowship provides $1000 per recipient for expenses while conductingresearch in the collections of the Wisconsin Historical Society (please see details ofthe collections at http://www.wisconsinhistory.org/libraryarchives/collections/).
Grant money may be used for travel to the WHS, costs of copying pertinent archivalresources, and living expenses while pursuing research here. If in residence duringthe semester, the recipient will be expected to give a presentation as part of thecolloquium series of the Center for the History of Print and Digital Culture(http://www.wiscprintdigital.org/) .
Preference will be given to:-proposals undertaking research in print culture history-research likely to lead to publication-researchers early in their career-researchers from outside Madison
Prior to applying, it is strongly suggested that applicants contact Lee Grady at theWisconsin Historical Society ([email protected] or 608-264-6459) todiscuss the relevancy of WHS collections to their projects. Wisconsin HistoricalSociety staff may be able to identify potential collections of which you may nototherwise be aware.
There is no application form. Applicants must submit the following:
1) A cover sheet with name, telephone, permanent address and e-mail, currentemployer/affiliation, title of project, and proposed dates of residency.
2) A letter of two single-spaced pages maximum describing the project and itsrelation to specifically cited collections at the society and to previous work on thesame theme, and describing the projected outcome of the work, including publicationplans. If residents of the Madison area are applying, they must explain their financialneed for the stipend.
3) Curriculum vitae.
4) Two confidential letters of reference. Graduate students must include their thesisadviser.
Applications are due by May 1. Recipients will be notified by June 1.
Please use your last name as the first word of all file names (for example: NameCV.pdf) and email materials to:
Anna PalmerCoordinator, Center for the History of Print and Digital [email protected]
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